The major memorial exhibition of Burne-Jones’s work was held at the New Gallery in the winter of 1898 to 1899. Hollyer made only six of these photographic records of the exhibition, and this was George Howard’s own copy. The album contains records of nearly all the most important works by Burne-Jones in this comprehensive retrospective exhibition. The photograph reproduced shows some of Burne-Jones’s Stanmore Hall tapestries, drawings for King Cophetua and the Beggar Maid as well as the huge unfinished canvas of the Car of Love (Victoria and Albert Museum). It also provides a visual record of the interior of the New Gallery, which from 1888 was Burne-Jones’s preferred gallery and which offered a sympathetic venue to decorative and symbolic painting until its closure in 1909. The managers of the Gallery were Charles Halle and Joseph Comyns Carr(1) who had both resigned from the Grosvenor Gallery when changes in its management made it less sympathetic to artists. The New Gallery building was converted from a livery stable at the south end of Regent Street. Penelope Fitzgerald wrote it was designed with much more feeling than the Grosvenor for what the artists wanted. In appearance it was vaguely Hispano-Moorish - the posts of the old stable had become square pillars, and there was a central court with a fountain, but the striking feature was the low ceiling and strong top lighting, which allowed the paintings to be hung at eye level with the drawings below them.(2) Another feature of the main room of the Gallery was its balcony, which allowed for the display of more drawings. All these features can be clearly seen in the present album. 1. For a portrait of Joseph Comyns Carr by John Singer Sargent see this catalogue, plate 109 2. Penelope Fitzgerald, Edward Burne-Jones: A Biography, Michael Joseph, London 1975, page 215